Anamorphic lens users and fans of 10bit might want to look very closely at their Panasonic S1 menus, and even the manual on page 143.
The 4K full frame S1 is on my desk at EOSHD HQ and for the first time it’s the final released camera that is shipping to stores, with firmware version 1.0. I couldn’t offer any original files from my shoot in Barcelona as the firmware back then was version 0.7. So now’s your chance, if you’re wondering how good the initial 10bit codec is at just 72Mbit or how well it grades, to download my files and have a look for yourself…
Overlooked in the first articles about this camera is the 4K H.265 mode of the Panasonic S1. Similar to the Fuji X-T3, this will allow 10bit internal recording in HEVC with launch firmware version 1.0 – no need to wait for the paid 10bit update.
3840 x 2160 is available in 10bit at 24p, 25p and 30p with no crop – it is full frame.
The later paid update is for a higher bitrate 10bit 4:2:2 mode and V-LOG, but in the meantime 10bit H.265 provides the silky smooth colour of 10bit with HDR and much smaller file sizes.
10bit Fuji-digital-film Super 35mm for £1350 is a yes from me!
Above: Daniel Berehulak, Panasonic GH5
I talked to Panasonic’s Matt Frazer to clarify the use of H.265 on the Panasonic GH5.
Samsung NX1 users are in for a treat with the latest release of Adobe Premiere CC. The NLE has been updated with hardware accelerated 4K H.265 (HVEC) support. This means NX1 users no longer have to transcode clips to an editable format like ProRes.
I have just tried out H.265 support in Premiere, so a brief word on this now…
Of all the surprises recently and there have been a few, the Samsung NX1 is the biggest. I spoke to the very knowledgable Sung Lae Park of Samsung to find out the finer details and tried the pre-production camera.
This is a bombshell announcement, a massive upset and a surprise that the NX1 has a 4K H.265 codec. With this model, Samsung have taken technological step-change to the market, adding the first ever High Efficiency Video Codec (HVEC H.265) along with 4K 24p and Ultra HD at 30p to a $1499 mirrorless camera with Super 35mm sensor (APS-C). The codec is a successor to H.264 and is capable of providing ProRes quality at less than half the file size.